Marshall Jefferson's releases as Hercules are gems of Chicago House. On the one side they are dark and pumping, affecting and capturing the listener or dancer most effectively, building up subtle tensions that makes you want to totally freak out. On the other side they are produced roughly, there's a crudeness and imperfection to them that makes everybody think, "if I'd had these machines it would sound the same." The individual sounds lack tune and poise, obstructing the tracks to condense a decisive contention or emotion, they seem to represent the most diverse attitudes and experiences reminding us of the call and response practices of African-American congregations. Despite being dark and thrilling it is simultaneously producing an open and communicative atmosphere.
This double structure of affection and dissolution, of proclamation and fragility — I'd claim — is distinctive of a vast majority of African-American music and the main difference to other western music styles who almost unexceptionally rush to transport and to encapsulate distinctive feelings or ideas. I'll defend this thesis in further posts.
This double structure of affection and dissolution, of proclamation and fragility — I'd claim — is distinctive of a vast majority of African-American music and the main difference to other western music styles who almost unexceptionally rush to transport and to encapsulate distinctive feelings or ideas. I'll defend this thesis in further posts.
Thanks to Hunee for playing Lost "In The Groove" some weeks ago at a party in Lupita at Kottbusser Tor.
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